About Cine Touché

sexta-feira, 8 de novembro de 2013

After an eight-year prison term for rape and assault, Max Cady (Robert Mitchum) is set free. Immediately making a beeline to Sam Bowden (Gregory Peck), the former prosecutor responsible for Cady's conviction, Cady laconically informs Sam that he intends to "pay back" the attorney for his years behind bars. Conducting a meticulous campaign of terror, Cady is careful to stay within the law. Sam, realizing that Cady intends to wreak vengeance by raping the attorney's wife (Polly Bergen) and daughter (Lori Martin), tries to put the ex-criminal behind bars, but has no grounds to do so. Chief Dutton (Martin Balsam) tries to help Sam with a few strong-arm tactics, but succeeds only in having the courts take Cady's side in the matter. Things come to a head when Sam moves his family to the "safety" of a remote houseboat on Cape Fear river. Cady shows up unannounced and is about to ravage Bowden's wife and daughter and when Sam turns the tables.

sexta-feira, 26 de julho de 2013

“Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high?” — Martin Scorsese
“Among those whom I would call ‘younger generation’ Kubrick appears to me to be a giant.” — Orson Welles
“It’s so hard to do anything that doesn’t owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you’re going to end up doing something that he’s probably already done before. It can all seem like we’re falling behind whatever he came up with.” — Paul Thomas Anderson
“He copied no one while all of us were scrambling to imitate him.” — Steven Spielberg
“A Clockwork Orange is my current favourite. I was very predisposed against the film. After seeing it, I realize it is the only movie about what the modern world really means.” — Luis Buñuel
“I really love “Eyes Wide Shut”. I just wonder if Stanley Kubrick really did finish it the way he wanted to before he died.” — David Lynch
“Each month Stanley Kubrick isn’t making a film is a loss to everybody.” — Sidney Lumet
“It’s the best of the best. No film can hope to top it (Kubrick’s 2001).” — Ridley Scott
“Stanley’s good on sound. So are a lot of directors, but Stanley’s good on designing a new harness. Stanley’s good on the colour of the mike. Stanley’s good on the merchant he bought the mike from. Stanley’s good about the merchant’s daughter who needs some dental work.” — Jack Nicholson
“I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.” — Gary Ross
“From a storytelling point of view, from a directing point of view, there is one thing I associate with what [Kubrick] does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to the audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.” — Christopher Nolan
“Single greatest American director of his generation.” — Oliver Stone
“I admire Kubrick greatly. He is often accused of being a prodigious technician and rigid intellectual, which people say makes his films very cold. I don’t agree. I think that “Barry Lyndon” or “A Clockwork Orange” are the most perfect marriages of personality and subject.” — Guillermo del Toro.

sexta-feira, 21 de junho de 2013

Bonnie Elizabeth Parker and Clyde Chestnut Barrow were well-known american outlaws, robbers, and criminals who traveled the central united states with their gang during the great depression. their exploits captured the attention of the american public during the “public enemy era” between 1931 and 1934. they and their gang are believed to have killed at least nine police officers and committed several civilian murders. the couple themselves were eventually ambushed and killed in north louisiana by law officers.

As lovers of crime fiction will know, Phryne - that's ph as in physician and Phryne to rhyme with briny - started life as the heroine of a wonderful series of novels from that city's Kerry Greenwood, and given the demand for the adventures of the raunchy, independent Miss Fisher, Greenwood is still producing them.
Now, inhabited by the gorgeous Essie Davis (Cloudstreet, The Slap), Phryne is also the star of an ambitious and much awaited 13-part series for the ABC. And what a star Davis is too, a beautiful actress who seems not so much to play Phryne Fisher but to collaborate with her. A dab hand at conducting an elegant dalliance, Davis's Miss Fisher is equally at home in Melbourne's Parisian-style bistros or mixing with the city's hard men in darkened lanes, her stylish heels clicking in jazz time as her gold-plated revolver urgently returns fire.
She is gorgeous, thrilling and dangerous: the country will fall in love with her style, panache and determination.
I am a fan of Greenwood's novels, and Davis is just how I imagined Phryne Fisher, even though at various times I have fantasised about Cate Blanchett or Toni Collette in the role. Thankfully the show, produced by Fiona Eagger and Deb Cox, is as witty and elegant as the novels, with just the right dark edge: a kind of attractive Bleak City noirishness. Miss Fisher's Murder Mysteries is produced with genuine big-screen cinematic style: the establishing first episode has the experienced hand of Tony Tilse to give it elegant direction, and there's a lovely sound track from Greg Walker that echoes the musicality of Greenwood's prose... Read More

domingo, 26 de maio de 2013

King of the Gypsies is a 1978 Paramount motion picture drama starring Eric Roberts, Sterling Hayden, Shelley Winters, Susan Sarandon, Brooke Shields, Annette O'Toole, and Judd Hirsch.
Directed by Frank Pierson, the screenplay was adapted by Pierson from the 1975 book King of the Gypsies by Peter Maas, which tells the story of Steve Tene and his Romani (Gypsy) family.
Several technical advisors, bit players and extras who worked on the movie were real gypsies. David Grisman composed the score, which prominently featured legendary jazz violinst Stephane Grappelli; both men also appeared onscreen as gypsy musicians.
Eric Roberts was nominated for a 1979 Golden Globe for "Best Motion Picture Acting Debut – Male" for his performance as Dave.